“No Part Left Behind!”
Seen repeatedly on my Straße in Kreuzberg. Gold Brembos boxed in by all that big German Whip. And Volvos. V70s over there. “Who told you I move like pauper?”
Seen in Kreuzberg. Debadged, murdered, on black Borbet A rims. “Man’s just try’na stack paper …”
After many years of supernaut images being tiny with ragged right background captions, I’ve been slowly ditching it for supernaut teenage Instabanga big images. And finally I cleared out all the old styles and code, made new medium and large image galleries, redid the styles and scripts repeatedly, said goodbye to funky bodges. Kept the blazing deep pink tho’. ???❌?‼️
Keeping things orderly here. Last week of my Naarm / Melbourne trip, Monday 26th March, I got myself along to NGV National Gallery of Victoria for the 2018 Triennial and weird European art.
- NGV Triennial: Richard Mosse — Incoming
- National Gallery of Victoria: J. M. W. Turner — Falls of Schaffhausen (Val d’Aosta)
- NGV Triennial 2018 & 21st Century Collection
- NGV National Gallery of Victoria — Mediæval Art
- NGV National Gallery of Victoria — Baroque & Rococo Art
- NGV National Gallery of Victoria — 19th & 20th Century Art
- NGV National Gallery of Victoria — St. George Hare: The Victory of Faith
- NGV National Gallery of Victoria — Jizō Bosatsu
I didn’t know where else to put this. It’s far more beautiful standing before it than in my photo. I didn’t photograph much of the NGV’s Asian (or, Not European) collections, and if I’m going to give a whole post to their mediæval art, then this Jizō Bosatsu Bodhisattva from the Kamakura period, 1185–1333 in Japan is contemporary to that.
Giving St. George Hare’s The Victory of Faith (Miserere Domini!) its own special post ’cos it’s lezzie as fuck. Funny how 120 years can turn a piece of racist Orientalism into something ripe with intersectional feminist power. “Yeah, dunno about that, Frances, reckon it’s just 19th century white man porn.”
A few pieces of European Baroque and Rococo art I saw on my very wrecked, post-season, post-bumpout afternoon in the NGV National Gallery of Victoria. Saw out of chronology, ’cos I saw this stuff before the Mediæval art.
Dispensing with my whinging first, the NGV is one of those difficult museums to photograph in, heaps of light bouncing of old glaze, plates of glass between artwork and mob, all the usual. The works I ended up blogging are the ones I could both photograph reasonably easily and scrubbed up ok in Photoshop.
Art I’m surprised got out of Europe: Giambattista Tiepolo’s The Finding of Moses and The Banquet of Cleopatra. Mattia Preti’s Sophonisba receiving the poison. Especially when there were tiny, not very good Canalettos and tiny, not very good Rubens. I’m spoilt for both of them, pretty much every large-ish museum in north-west Europe has a few Canalettos, the Gemäldegalerie in Berlin alone has a quartet of huge ones, and Rubens, after the surprise of Musée des Beaux-Arts de Valenciennes I’m a snob. Rounding out the stash was Derby Porcelain’s The Four Continents.
As usual, a lot of what I photographed was with Medieval POC in mind, and not having much time or energy meant I’m really not representing the NGV so well. It’s not Louvre-sized, probably more like Koninklijke Musea voor Schone Kunsten van België in Brussels. There’s a lot more there than old European art, just that’s it’s also a strange place, and trying to make sense of how Australia sees itself in relation to Europe — not just England or historically to the British Empire, but Europe as a single entity wherein ‘Europe’ in fact denotes the western half only, and how Australia uses the art from that peninsula-continent to create a historical identity for itself … Australia has little to nothing in common with this. It’s part of Asia-Pacific, South-East Asia, Pasifika; it’s Aboriginal and Torres Strait Islander land. The idea of the museum, imported from Europe as it was, doesn’t seem capable of acknowledging that.
A few more pieces of art from Naarm / Melbourne’s NGV National Gallery of Victoria, which I saw on my very wrecked, post-season, post-bumpout afternoon at the end of March. I wasn’t photographing much by this point, mainly grabbing a few I thought Medieval POC would get a kick out of, and very much not trying to document the museum itself. Bits and pieces. And Anguish. I thought of Onyx when I saw that. “Why? Because I’m raked over and bleeding out?” “Nah, ’cos you’re a murder of black crows about to feast on some dainty white lamb flesh.” Or something like that. We’re supposed to identify with the sheep. Fuck that.
A few pieces of European mediæval art I saw on my very wrecked, post-season, post-bumpout afternoon in the NGV National Gallery of Victoria. Considering how long I lived in Naarm / Melbourne, and considering I spent five years across the road at Victorian College of the Arts, I’m pretty sure I went inside a total of maybe once, and that for a special exhibition which I can’t remember — the permanent collection and the building itself I never wandered through. Mainly ’cos I wasn’t into museums then.
So, mediæval European stuff, ’cos I am into it. Weird to go to Australia to see bits and pieces of back home. I was looking for Saint Mauritius (of course), because somehow I got it in my head they have a rather nice painting of him. Didn’t find it. Might not be on display. Didn’t find it on their website either, but that’s a horror to search so … Did find exactly one Biblical Magi / Heilige Drei Könige / Aanbidding der Wijzen (it’s from Antwerpen, let’s go with that last one), very buried in the bottom right corner of a retable, which I shone my phone light on to get some illumination to photograph (then butchered it in Photoshop — is not my best work).
The first room, with the wooden sculptures reminded me of Muzeum Narodowe we Wrocławiu (still one of the best mediæval collections and museums I’ve seen), but the dissonance of German next to Spanish next to Italian next to Flemish made for an odd journey. A small collection, lack of space, prioritising newer art and temporary exhibitions can justify the jumble somewhat, yet it proposes a strange, fantastical idea of the history of Europe, a Europe that is monolithic, singular, consistent. Yeah, I’m spoilt here. I can go to small cities like Magdeburg and see a thousand years of history from just that region of central, northern, Germanic Europe all in the original church, and the depth and detail imparted shapes a massively different reality for Europe’s history.
But still, they have a Hans Memling, some Dürer etchings, and a pile of other works that are pretty solid examples of what was going on in Western Europe in the 14th and 15th centuries. The German pieces are solid and heavy and dark; the French all flowing in International Gothic style; the Italian ramping up for the Renaissance. Most of the pieces aren’t brilliant, though pretty much all are solid pieces by renowned artists, and nothing is of the poor, regional copies that litter museums over here. And occasionally there’s a work I’m frankly surprised got out of Europe, which speaks of the kind of money backing the NGV.
Favourite piece? Jaume Cascalls’ St Catherine, from around 1350 in Spain. Not just because she’s my favourite saint, patron of unmarried girls, spinsters, archivists, jurists, librarians, mechanics, scholars, and fucking knife sharpeners.